지금까지 문인화는 조선시대 성리학의 영향으로 고고한 선비 의 남성적 문화 도구로 인식되고 있다. 그러나 현대에는 성리 학의 영향이 약화되고 문인에 대한 해석이 달라짐으로써 문인 화는 새롭게 정의되어야 하고 또한 여성적 성향으로 변화하고 있는 현상에 대한 진단이 필요하다. 이러한 시대적 관점에서 먼저 현대 한국문인화를 정의하고, 다음으로 동양의 전통적인 미학텍스트라 할 수 있는 사공도의 『이십사시품』의 ‘섬농’과 ‘기려’의 풍격을 기준으로 현대 한국 문인화의 여성적 풍격을 진단하였다. ‘섬농’의 풍격으로 문봉선의 <유수>와 홍석창의 <별꽃>을 분석하였고, ‘기려’의 풍격으로 이철규의 <상생>과 김순철의 <About wish>을 분석하였다. 이러한 연구를 통해 다원화되고 기호화된 현대사회에서 한국 문인화의 새로운 발전 가능성을 모색할 수 있는 하나의 실마리 가 될 수 있을 것이다. 동양에서 성행하였던 문인화는 문인의 정신을 일획성의 수묵 기법으로 표현하여 지금까지 우리의 미의식에 영향을 미치고 있다. 철학과 예술이 결합된 문인화는 한국의 중요한 문화적 도구로 앞으로 한국미술을 대표할 수 있는 한 축을 담당할 수 있기를 희망한다.

面对暴力，诗歌的反应应该是果断且带有自我反省的。但是毛泽东时期的中国诗歌，却背弃了人文主义，以掌权党派的工具自居。文学与政治之间的这种特殊关系，根源在于“政治第一”的原则。而问题在于，由于政治第一原则贯穿于韩国战争直到天安门诗歌，工农兵直接进行创作，知识分子诗歌遭到摒弃，诗歌实际上出场扮演了加剧政治权力主导下的阶段性二元对立的角色。这一时期的中国诗歌之所以在语言形象暴力化过程中表现出一种积极的惯性，也是由于同样的原因。创作诗歌去迎合权力的战略目标，才是为了人民，为了正义，才是在历史面前道德纯洁的表现。政治将现实与记忆的关系糅合在一起，所以这一时期中国诗歌的暴力形象，在内容和形式上都显现出了超越阶段的同一性。更重要的是，它将人性本身设定为与阶级性敌对的反社会，反历史范畴，从而导致在很长一个时期内，甚至讨论这个问题都成为了一种禁忌。更何况暴力的诗歌定型化过程中，所有参与其间的诗人，都对毛泽东，中国共产党，中华人民共和国的绝对价值以及为所欲为的权能相结合的三位一体笃信不移，这种类似宗教的狂热已经深入骨髓。墨家的上下关系，再现为领袖，党组织，人民大众的关系。也正因为这一点，对现实和历史的浪漫因盲从化身为谎言，诗歌中呈现的暴力，反映了现实需要的多种内容和属性，或者说反映了政治局势的要求和应对。这一时期诗人的诗歌选择中看不到自我完善，因为对于现实，这一时期的创作不是自为的，而是自在的。

Since today’s digital culture deepens the tendency toward city-centric and mechanic-centric areas while individual communication is carried out mainly to be comfortable and efficient through convenient operation and management of technical civilization, it is getting difficult to experience the lingering impression derived from simplicity and timelessness of nature. As technology is rapidly developing, people tend to satisfy indirectly through visual sensation and to stay in passive lifestyle concentrating on intended transfer of culture that significantly different from the actual nature.The era of the absence of impression, sensible spirit, dialogues appealing to deep human nature, and trustful relationships implemented by sustainable ethos are possibly completed and healed by the soul of sound transcending time and space. It is necessary, in terms of succession, to identify, emphasize, and research the genre of art refreshing our age and society. We especially need to emphasize the important of the value of artistic sublimation of life and literary elements relieving human emotion and harmonizing everyday life through poetic rhythms, the source of resonance that has us recognized the culmination of representation, the beauty of scenery.Therefore, this study described there has been a rhythmical harmonization echoing to the spirit of traditional culture that inspires the soul of sound through works, concerning the role of "the human being of soul blending with the earth and heaven"between nature and human while enjoying the culture of digital era. There are several works having the spirit of sound and culture, bringing actual changes in life by adapting contemporary cultural expressions to traditional formats, and refreshing everyday life by repetitive reciting unconsciously with metric delights. In contemporary poetry of Korea, those expressions containing the soul of sound through rhythm and rhyme of transformed tradition are enjoyed and will be enjoyed by ordinary people as a form of resonance. In the present study, analysis and examination were conducted with the works of Kim Sowal who sublimated destruction and solitude in harmonization and creation by concentrating sprit, Manhae Han Yonghun who chanted the mysterious life and universe expressed by the sound of streams flowing in poetic thoughts, Yoon Dongjoo who reflected and implemented ethos by conversing with the sound of rain and wind, Kim Youngrang who sang the melody of life through the sound and the art of drums, Cheong Jiyong who recited the sound of hometown recalling nostalgic emotion of Korean, Midang Seo Jeongjoo who intoned the sound of Manpasikjuk, the flute inspiring the mystery of myth and music, and the sound of Hapjukseon from wind, and Hwang Donggye who mastered poetic transition sympathizing the process to experience the soul of sound mysteriously though lyrical poems.Further studies will be expected to continue based on this study that identified the direction of contemporary poetry and cultural historical value through the works of art that integrated the soul of sound into the aesthetics of expression.

1949年之后的中国浪漫主义，注定摆脱不了政治的影响。根据战略需 要将个人偶像化，把国家力量集中于权力的周边，这些都体现了权术的战术 变化。这一时期的政治，既是辩证唯物主义的实践过程，也是斗争，它敌视 经济，社会领域中出现的异议，并将这些无用的工具弃置流放。浪漫不得不 成为政治的代名词，扎根于主一无适的毛泽东路线，充斥着弄虚作假与夸张 矫饰。这一切并不能归罪于文学，而是为了迎合路线的政治需求。 知识分子正是游走于这刀锋之上，生杀荣辱，予取予夺。要想保全荣华 富贵，就必须选择一条屈辱的道路，将否定自我提升至否定人类的高度。不 仅如此，他们中的每个人，都在毛泽东，义务，善，无产者的阶级大义，世 界革命之间苦闷彷徨。人道主义是敌对阵营留下的余孽，对毛泽东类似宗教 性质的信仰，取代了对人类的展望，对历史的期许。在权力的全方位监视体 系下，知识分子能够确保的自我空间，甚至还不如一个抽屉大。 而工农兵则是一颗红心，以党性为先导，他们对现实构造的过渡进程一 无所知，并因无知而享受着无限的自由，他们绘出了一条一本正经的，同时 又是荒诞无稽的诗歌轨迹。他们对毛泽东的信仰自然凌驾于宗教之上，但是 在天人合一的境界中所获得的心灵自由，竟意外地引发出了自我的过度膨 胀，模糊了主体与对象的界限。他们将毛泽东奉为超越法制和宇宙定律的绝 对神祗，同时又生成一种阶级和进步名义下的精神症状：作为毛泽东的亲密 同志，自己也就成了龙王，也就成了玉皇大帝。他们的浪漫介于混混与龙王 之间，他们的社会谱系绽放于党性与无知之间。因为无知，所以唯党性是从，因为唯党性是从，所以一直无知下去。这种辩证关系，是以无知为前提 的党性所特有的灵气。严肃的浪漫取决于实践，但实践演出的却注定是一幕 喜剧，这看似荒唐，实际上却并不是什么偶然事件。在没有市场的地方划出 平等的彩虹，其实却只是自由的水泡破灭后暂时的错觉。 学生的命运更加悲惨。文化大革命缘于分血仪式后干部子弟们扭曲的优 越性。无论是期待借此实践人道主义的理想主义者，或是试图借机改换门 庭，一步登天的黑五类分子，权力与理想在他们的浪漫主义中都起到了媒介 的作用，浪漫主义立足于理想，同时又受制于理想。从这一角度来说，文革 本身就无法摆脱其悲剧命运。因为他们所向往的理想，蕴含着人类普遍价 值，蕴含着从机会的均等到存在的自由等民主主义性质的要求。谁知宴席散 后却是满地狼藉。上山下乡将他们彻底边缘化，他们的理想被流放至天涯海 角，穷山恶水，就此走上了一条不归路。但是，散落各地的下放知青，又使 得文革后的改革开放得以在全国迅速铺开。狂热导致流放，流放又促进了在 全国范围内实现现代化。这一过程中，他们近似于宗教的狂热在史书上写下 了浓墨重彩的一笔。 从这种意义上来说，一切浪漫都可以归为狂热，而对现代的无知又总是 植根于狂热的背景之中。狂热有多么严肃，就有多么荒诞，它最终还要被称 之为浪漫，不过是一种理想化而已。因为这一时期的浪漫是暴力的代名词， 是权力牵线的虚妄，同时也是幸存者们全新的出发点。